It's not irony and it's not rock n roll

Sometimes I wish was like...Kate Nash

2008-01-10T11:39:00.000-05:00

I love Kate Nash.

I hate Kate Nash.

Yep. And how.

Actually, truthfully, I want to be Kate Nash. And not in a creepy psycho way, I promise. The girl is freaking adorable. I want her wardrobe. I want her hair. I want her beguiling smile and her pert little nose. And the lilt in her voice. (I don't actually want her boyfriend, though. I like his band and I go see them whenever they're in town, but he seems kind of dirty [the unwashed kind]—maybe it has something to do with seeing him three nights in a row where he spilled beer and bled on himself and wore the same shirt each night, with the beer stains. But really, it's all about personal preference, and this is not a judgment at all. My friends all would. It's just me. So really, it's lucky for him that I'm not her.)

Barring that impossibility, I want to be best friends with her.

And barring that, I'd like to shake hands with her. She's accomplished a feat that few ever do—expressing such basic and universal emotions, situations, insecurities, personalities, all those things, with such cutting incisiveness and disarming wit.

And then I'd like to ask her, "What the hell were you thinking?!" about the other half of her album.

It boggles my mind that an album that has such amazing and insightful songs on it, songs that inspired me to listen to just them on repeat for TWO WEEKS STRAIGHT, could have an equal number of just awful, cringeworthy ones as well. I guess no one's perfect.

This past year, I've had to suffice a lot with listening to bands' albums instead of seeing them live. I've listened to Kate on repeat a lot (as I mentioned) and I tried not to think about how I missed her three times in New York. Well, last night at the Bowery Ballroom, it was finally my turn.

And she's so charming and disarming and the songs of hers that I love I love so much that I'll probably have to see her every time she's here. And yes, I gritted my teeth through the awful songs, but looking up at her cuteness almost makes them bearable.

She started out with "Mariella," which is a good, bouncy opener.

Then launched into "Shit Song." No comment.

A b-side, "Stitching Leggings," followed, but the vocals were so low you couldn't hear her verbal gymnastics in the chorus very well.

I don't have the exact setlist (yes, I'm a bad blogger), but the rest included "Skeleton Song" (a surprise favorite of mine, considering I had no imaginary friends growing up, though perhaps I do now—Facebook holla!)

"Birds." Sigh. She sounds so wonderful singing it, and I love the adolescent awkwardness and the sweet story, but the actual chorus lyrics make me wince.

Hearing the opening notes of "Nicest Thing" is like getting punched in the gut. But in a good way. I have a friend who can't even listen to it because it resonates so true.

I think that the entire night was worth it, including the young audience making me feel over the hill and the two women behind us singing at the top of their lungs, off-key, not knowing all the words (I sing too, but when I don't know the words, I don't sing ones I've just made up), just to hear "We Get On" live. This song is me in a nutshell, in my hopeless crushes and patheticness and, I don't want to say obsessiveness, because it's such a strong word. But not in an embarrassing way. If it was embarrassing, someone wouldn't have written a song about it. And as Kate says, "I wish that I could tell you face to face instead of singing this stupid song." And that's enough for me.

"Dickhead" turned out to be a bit of a comedic song, since the people next to me started laughing. I just thought fondly of my friend who asked me to shout out for it and was glad I hadn't had to.

"This is my brain, its torturous analytical thoughts make me go.... insane." Amen, sista. "Mouthwash" is the song of hers that seems to get stuck in people's heads most often.

I will never get tired of hearing "Foundations." Live, recorded, home videos of us singing, what have you. This song is so good, that after telling me it wasn't worth $10 to (legally) acquire Ms. Nash's album at Virgin Megastore, a friend of mine backtracked and said, "Actually, it's worth $10 just for 'Foundations' alone." This is true. It's also true that after hearing this song the first time, as a friend asked me, I did think Kate was going to turn out to be edgier. But I like kitsch. So it's all good in the end.

Everyone's favorite but my own, including Grey's Anatomy, "Merry Happy" ended the main set. I can live with that.

For an encore she did the storytelling "Little Red" and then "Pumpkin Soup." Oh, how I think she needs a better closer. It's not just because I don't like that song at all. Okay, yes it is. I don't like it. I think that singing "Foundations" as the very last song would be better. But I'm partial.

I'm also partial to Kate in general. I can say that some of her songs are shit, but if you talk shit about her, you'll have to answer to me. And I'm from Brooklyn, so you really don't want it to come to that.

Damn the Man

2006-11-24T02:09:00.001-05:00

"You have good taste in music. For a girl." I've heard that one too many times. Next guy who says it to me is liable to wind up with a black eye. I often find that discussions arise regarding women and music, women in music. I'm always inordinately pleased when a male respects my taste in music, who looks at me as someone knowledgeable. Why should that be, though?

Any female who is very into music winds up in these discussions. I've rounded it down to the fact that male attitudes towards females regarding music—whether it’s as a music fan or as a musician, whether in the press, the industry, or as a listener—is one of the last remaining sexisms.

Men are comfortable stating their beliefs—vociferously, as fact. Women? Not so much. We tend not to speak up for fear of sounding stupid, and worsening our case. Even when we know what we’re talking about. And even when we do speak up, men who disagree with us think we’re silly and wrong because we have different opinions than they do. Opinions are not fact, they’re opinions. But expressing ours opens us up to being torn down in a way men never have to worry about.

We're criticized for squeeing over cute band members, looked down on as groupies and fangirls, but men never have to answer for admiring attractive female musicians.

We pay more for haircuts and dry cleaning. Yet we are increasingly gaining top positions in companies. But if you look at the music industry, it’s sorely lacking females. Whether it be journalists, executives, or real, proper, good bands.

A while ago, I noticed how the majority of the newly successful female or female-fronted bands have reverted to old-fashioned sounding music, or even just a bit retro. The Pipettes, The Chalets, The Long Blondes. They’re all reminiscent of the female bands of yore. (Well, it seems like it’s been that long.) Why is that? Why can’t females be successful playing contemporary music? Why are there no dark-electro female bands, for example? There are very few female bands that are actually rock bands. Leila from The Duke Spirit is a fledgling. Karen O is our goddess and leader. Is it that we’re only capable of singing girly music well? Or is that we’ll only be accepted if we play that feminine, Supremes-shimmying type music?

I’ve had this rant in me for a while, but what inspired me to put it into words now? Lily Allen. A musician I have not supported because she makes more headlines tearing down people than she does making music (this case included). To me, her music just isn’t good enough to make up for it. Lily Allen was named as #3 on the annual NME cool list, a list which, this year, has an unprecedented number of female musicians. Which I thought, at first, could only be a good thing.

Then I read this. Lily’s latest infamous myspace blog entry. But I really respected and related to what she had to say. This is it in its entirety:

I probably shouldn't be writing this , but I have to get it off my chest . I am not a big fan of the NME , as they sold me down the river when I last talked to them , I did and interview and made a sarcastic joke using the word "gak" which is slang for cocaine . They glorified my joke and used it out of context , then their public relations dept , contacted the tabloids in a shameful attempt to sell more copies . And , I have ever since been known as " Lily Allen , Pint sized potty mouth popstar who once admitted she would celebrate her no 1 single by taking cocaine ! " .
Thanks NME . Now , I have read many articles in the NME , where male band members freely admit to, or associate themselves with the taking of drugs , and I havent seen many of them ending up in the tabloids . Take Klaxons for example, and the ongoing MDMA references. " MDMAZING " I believe was the title of a recent article ( how responsible! ) .
The only reason I can think of , for recieving such a different form of treatment , is because I am a woman . I did recieve a written apology from Conor Mcnicholas ( the editor) . But i vowed never to work with the NME agian . As I thought, if there was one publication I could trust and be frank with , it would be the theirs .

Anyway , I was aproached by them again , with regards to the "Cool List Issue 2006" , five women had made it into the top 10 and , subsequently we (the women) were asked to pose for photos to be the main feature for the cover . As I said before , I vowed not to work with them again , but as the context was so important ie; a a strong female presence in music . I thought i might aswell put aside my differences and do it . Now i don't care for " the cool list " , and I said this to them in the interview , which is probably why they didn't print it . I don't really think the NME are in any position to tell us who is cool and who isn't , personally I don't think a bunch of people sitting in an office drinking tea , inventing musical genres , and watching Nathan Barley DVD's are leading any kind of cool brigade , do you ?
But i did find it interesting that they wanted to put five women on the cover , and wanted to name 2006 , our year .

I went to get a copy yesterday , and this is what we ( the women ) got . Another fuckin MUSE cover . I like Muse , infact , Black Holes and Revelations , is one of my favourite albums of this year . But the NME have covered them so much this year already .

Now usually you might expect a call , just out of courtousy telling us we had been pulled off the cover , but we recieved nothing .

This is Conors ( the editors) comments on this issue , He has obviusly put out some press release , stating how supportive the NME is to women in music

Conor McNicholas, the editor of NME, said he was pleased that the Cool List was full of women who had brought "new energy" to the music world.

"This year's Cool List is a testament to the raft of hugely talented women who have taken hold of the music scene in 2006," he said. "From Beth to Lily to Karen, they've brought new energy to a scene dominated by men. They're also living proof that you can still rock a crowd when you're wearing stilettos."

I mean how fucking patronising " you can still rock a crowd wearing stilletos "
Is that all we are , stilleto wearing people , is that all he could say ,that we brought a " new energy" to the music scene . Don't make me sick , wev'e always been here you arrogant prick , this was your chance to actually show you meant it . And instead you put Muse on the cover . Cause you thought that your readers might not buy a magazine with an overweight lesbian and a not particularly attractive looking me , on the front . Wankers .

You should take your heads out of you New Rave arses , and actually think about your responsibilities to youth culture , and to women in general .

Oh and by the way , theres not enough RAVE in New Rave .

And all along, I thought it was breasts and vaginas that prevented us from rocking a crowd. Who knew it was just stilettos??

Let’s try and end this off on a more positive note. How long did it take women to get the vote? To become CEOs in companies? To be able to use birth control? Do you foresee things changing any time soon? And what has to be done to effect this change? Will it take decades, centuries? And should we just get off our righteous indignation and stop caring so much, and maybe then things will change?

It's written on the wall that you're sexy in Sheffield

2006-11-10T15:59:00.000-05:00

Ey up! There was one band in town this CMJ season that seems to have eluded the blogosphere. It mystifies me, since this is a band that I discovered over the internet, and they're all much more up on things than I am.

Ladies and gentlemen, I present to you, Little Man Tate (myspace). I can hear you ask, "Isn't that a Jodie Foster movie?" Well, yes. It's that too. Dare I say that the band is better than the movie? It's certainly a lot more fun.

Hailing from the hamlet of Sheffield, most notably home of the Arctic Monkeys, though some of us prefer to think of it as the place that spawned Def Leppard, the band in its present incarnation sings raucous, raunchy, irreverent songs about the things they know best: drinking, parties, girls, relationships, sex, flirting, cross-dressing, lesbianism, texting, drinking, oh, and boobs. The irony is that if you have the good fortune to get a chance to speak to the guys in the band, singer Jon Windle, guitarist Maz (don't you love the one word names?), bassist Ben Surtees, and drummer Dan Fields, they are just like their songs.

The first song of theirs I ever heard was "Sexy in Latin," and it's still probably my favorite. I still wonder what "It's written on the wall that your sexy in Latin" means exactly, but who cares when the songs is so much fun to sing along to. Live, it takes on a whole new dimension, as you can't help but dance, and are treated to singer Jon Windle's acting out the song with hand motions. "Man I Hate Your Band" has one of the best sing-along-choruses in a long time, with every person sympathizing with the sentiment and thinking of their own pet peeve band. "What? What You Got" features one of those perfect musical moments--you know what I'm talking about--when the guitar joins into the bass intro. It's magic, I tell you. "Down On Marie" is a dance fest with an almost Southern Rock feel to it. "Hello Miss Lovely (So You Like My Jeans)" is a sweet homage to the misinformation and miscommunication that goes on between the sexes. "Just Can't Take It" has the loveliest jangly guitars, almost sounding a wee bit bluegrass. "House Party At Boothy's" memorializes the parties thrown by a mate of theirs back in Sheffield.

They played three shows in New York, and I nearly made it to all of them, but best laid plans and all. The first thing that struck me when they took the stage was, "Hey, they're a lot more dressed up then the last time I saw them." Though they profess not to care about being cool and all that, I suppose when you come to a place like NYC you want to put your best foot forward. And they did. Sometimes literally, stepping out onto a table, or into the crowd. We were treated to two new songs (or at least ones I hadn't heard before), "Little Big Man" and standout "European Lover." (I would love the lyrics to that one. Actually, to all of them.)

As if their stage performance and music wasn't entertaining enough, chatting with them after was worth the price of admission. They're famous for being extremely fan-friendly, and very hands-on with their internet following, including the names of all members who had joined their forum by 2005 on the back of the single, "The Agent." You can see why they inspire so much devotion. They'll buy you a drink. There's good-natured ribbing. They have genuine interest in you, where you're from, what you have to say. They'll give you a back rub. Maybe go do karaoke with you. And it doesn't stop with them; their crew is the nicest you could ever hope to encounter, even remembering you and greeting you like old friends the next time you see them.

So check them out. Listen to the songs. Go see them when they're back here. (I've got it on good authority they'll be back in March for SXSW.) You might even get a massage.

Trust me, though, this is one bandwagon you want to get on. It's too bad you can't rent them on dvd, like the Jodie Foster version.

My Little Brother Just Discovered Rock and Roll

2006-04-06T12:09:00.000-04:00

And so we were all able to tell the difference checking out the Art Brut show last night at Bowery Ballroom. Having sat out Tuesday night’s show, I was told that Wednesday was the night with the “bad openers.” This proved to be only half true.

In general, when going to see a band like Art Brut, you’d expect some eclectic openers, and we’ve had to suffer through a few doozies in our time as Bruisers. When The Robocop Kraus came on, I thought, “This can’t be right.” Because they weren’t awful. I didn’t understand what the singer said the name of the band was, I thought he said they were from Sweden (nope, Germany), but the one thing I did hear him say is, “We're so excited to be in New York” with a big smile on his face.

It’s not vanity or ego. I don’t need everyone who comes to play here declare their love for my city. But it was the genuineness with which he said it, and then the enthusiasm and eagerness that they showed performing was infectious…they won over the audience. (A certain band who will go unnamed could take notes on that.) What could have turned out to be another nightmare set for a poor opener trying to pierce the too-cool shell of NY hipsters turned out to be so much fun. People were clapping. Cheering. Maybe even *gasp* dancing. They had fun, and they tried really damn hard, but eventually, against their better judgment, the audience had fun too.

I can’t really describe their sound. It was on the lighter side of indie, with keyboards. Not quite Maxïmo Park-like, though. A touch of 80's pop. The vocal stylings screamed Futureheads, but without the complex harmonies. Same way of delivery, and the singer even almost had the same voice as Mr. Hyde. I couldn’t stop smiling all the way through, and declared at the end that they were so adorable that I wanted to take them all home with me. I settled for spending $15 to take one of their cds instead.

And now we get to the ugly. Literally. And not ugly, even. Fugly. Gil Mantera’s Party Dream. I’d like to think that I have a decent sense of humor. I even managed to live through a Towers of London set with mild amusement. But if this band is supposed to be funny, then I don’t get it. I know it’s a strange thing to say, coming to see a band like Art Brut who themselves are a bit of a parody of a real band, but this band was less a parody and more a joke. The kind that you don’t laugh with, you laugh at. Or, in our case, scamper away from when they jump into the audience and wail, “Eeeew, he touched me” after not getting away fast enough. However, when they weren’t performing and the singer was talking, he was quite funny. Too bad he didn’t restrain himself to just that. Members of Art Brut were standing on the side watching and laughing, and I felt a feeling akin to the one I got watching Alex Franz watching and laughing the performance of The Evaporators when they opened for them at Roseland back in October 2004 - and feeling very much like I was just not cool enough to understand why it was so great.

They were part Towers of London (parody aspect), part Chromeo (electrified vocals), mixed with large doses of The Village People and The Full Monty. Luckily not the full monty. But more than I ever wanted to see. Not to mention that they were their own personal fluffers and would periodically stroke themselves inside their pants. As my friend MD said, “I don’t need to come to a concert to see that, I can just get on the subway.” I made my friend Jasmine take pictures, just because I know that no one would believe me without pictorial evidence. I warn you, though, your eyes will never be the same.

And now on to “Doug Brut.” What can you say about them? They’re just ridiculous fun. The kind of fun where you don’t mind the boys moshing and shoving you around, and you even for a split second think about joining them. The beer thrown was cool too, because my hair looks better with some beer in it, no joke. Eddie eschewed their setlist in favor of “requests” (which resulted in them playing their setlist, just in a different order.) Some of the same jokes as last time, but they make you laugh at them anyway. Mikey the drummer, as always, standing. And my oh my, how Jasper has grown. When we saw them back in November, he was new to the band and still a bit hesitant. No more. The attitude is pure rock and roll. The hair is now even more so. What an inspiration. I think I may go out and form a band…

The King of Chav Rock

2006-01-19T23:06:00.000-05:00

Richard Archer is a chav. I've known this since the first time I saw Hard-Fi, the band for which he is the lead singer, back in July at the Mercury Lounge. And I'm American. But hey, every walk of life needs a hero, right?

This didn't keep me from venturing out to see the band again on Tuesday night at the Bowery Ballroom. In the interim since my first look-see, I've had time to listen to their album, Stars of CCTV (so what if it hasn't been released here yet?), and form an opinion of their music, not just their place in British society. In July I knew that I liked "Tied Up Too Tight," but didn't know much else.

My informed opinion wasn't the only change that night - their stage show had changed as well. We were surprised to see a backdrop with the CCTV logo and "HARD-FI In Progress" written across the top. Then when the stage was being set up for their performance, light machines were brought out. (Light machines? For an indie band?!) My friend asked a roadie if there were going to be smoke machines as well (partly tongue in cheek, partly because she doesn't like them.) His answer? "We're not allowed to use them here." Not "no," but "not here" (perhaps.) When the setlists were taped on, we noticed that they had turned it into a crib sheet. Next to "Feltham is Singing Out" (a song about a prison near where the Hard-Fi guys live) was "Rikers Island Prison" - a clear indication of their schpiel for the evening (though he proved unable to read the handwriting and my friend wound up supplying the name for him). There was also a note to remind Richard to mention the signing after the show (he didn't), as well as the the names of the opening bands scribbled at the bottom to thank (he forgot).

To me, this summed up the overall opinion I had formed of them - they're a bit cheesy. In the way that swaggering guys are. They're the guys who walk around as if they're hot shit. In some ways I suppose they are. They've done good. Real good. And their music is a study in contrasts. The good part is melodious, boisterous, and beautifully harmonized. The melodica features heavily in their music, and it's the best renaissance of an instrument in recent history. The prettiness of their harmonies stands starkly against the bad part of it, which is the musical equivalent of a guy in an Italian Stallion shirt, gold chains, hair slicked back with too much gel. The good, including the aforementioned "Tied Up Too Tight," "Feltham Is Singing Out," "Better Do Better," "Stars of CCTV," and "Move on Now," are quite enjoyable. The bad, such as "Cash Machine" which cloaks the story of a guy who gets his girlfriend pregnant by accident and then runs off in a good dance beat, is cringeworthy. It wasn't helped by Archer, at a pause in the song, cooing sexily, "Sorry, baby." Like that makes it better.

I'll admit that through the swaggering and cheese, I was waiting for the songs I like. If I blocked out what he was saying, I could even enjoy dancing to the music. And I did. Not everyone is as particular about their lyrics as I am or finds things cheesy as easily as I do. And Hard-Fi is a band for both kinds of people. Those who love them and those who just like them. You can enjoy them both ways.

Of course, the guy from London I wound up speaking to at the gig in July wouldn't agree with that. His take: "I couldn't like them. He's just such a chav."

I knew all along that I was right at the start

2005-12-29T21:42:00.000-05:00

Now I come to the extremely difficult task of picking my top ten songs of the year. Some of them were easy - for example, my #1. I heard it in January, and I knew even then. But some of the others were hard, and a few are in grey areas since they're not official releases, and so I have to use the almighty "/" to pair them with a "real" song.

Without further ado...

Top 10 Songs of 2005

#1: Maxïmo Park - "Apply Some Pressure"

What happens when you lose everything?
You just start again.
You start all over again.

How do I love this song? Let me count the ways. I love it in the album version. I love it in the inferior single version, in all formats, original and rerelease, and on the US EP. (I'm not obsessed. I'm just thorough. Honest.) But most of all, I love it in the original demo version.

This song just fits me. It defined my year. Perhaps it will define my life? We'll see, but I'm pretty sure it will be one of the favorites of my lifetime. It speaks of loss and renewed hope, of the push/pull of life, and of getting up and starting again. It is an anthem for life.

#2: Battle - "Tendency"/"Demons"

Cause I mean everything that falls out my mouth,
I love you like family,
Yes, I love you like you don't know,
I’m moving on and up,
But I’m still the boy you knew;
I'm the boy who threw his arms around you.

I've previously waxed poetic about "Tendency." From the opening guitar chords, it gets under your skin and haunts you. Jason Bavanandan growls with urgency and passion, and it makes for the kind of song you get passionate about. Hearing this song was one of the pinnacle moments of Leeds festival for me. I'm a bit worried since they were having trouble laying it down for the single, and I've heard things about a string quartet being added. But since this song was not released this year, my backup choice is "Demons," also an excellent song, deceptively upbeat, though it hooks you with lyrics like:

I'll stick a fork into your side
Just to make sure you're alive
It'll jeopardize our friendship
But you've always hated that.

It looks like "Tendency" might have a shot at making this list two years in a row.

#3: Arcade Fire - "Rebellion (Lies)"

People say that your dreams
Are the only things that save you
Come on baby in our dreams
We can live our misbehavior

I think haunting is perhaps the keyword for my year, because this is another song that lulls you, starting off soft and melodic, and then exploding into accusation.

Every time you close your eyes
LIES! LIES!

Betrayal has never sounded so good.

#4: Arctic Monkeys - "Fake Tales of San Francisco"

His bird thinks it's amazing, though
So all that's left
Is the proof that love's
Not only blind but deaf

This song could have made my list for that line alone, but aren't we lucky, because it comes with oh so much more. From the begining guitar riff that can be described as nothing short of funky, through Alex Turner's piss-take of the posers and scenesters that we all run into and take the piss out of. This song is the one song of theirs I remember from their Leeds set. I remember everyone screaming, "Kick me out! Kick me out!" The breakdown before the bridge is some of the best guitar work I've heard in years. Except no imitations, though - the album version is inferior to the demo.

#5: The Futureheads - "Hounds of Love"/"Area"

...that I am afraid to be running away
From nothing real
I just can't deal with this...

When do harmonies become poetry? When they're put in the hands of The Futureheads. When does a cover become original? When put in the hands of The Futureheads. This song should be called a re-creation. It is impossible to hear this song and not have it get stuck in your head. But it's not a bad thing.

While "Hounds of Love" was re-released this year, "Area" was an original release. As infectious as any track on the self-titled album, it bodes well for album #2.

#6: Babyshambles - "Fuck Forever"
Happy endings they never bored me
Happy endings they still don't bore me
But they, they have a way
A way to make you pay
And to make you toe the line...
You're so clever, but you're not very nice

Zane Lowe version for me please. The single version was overproduced, and just generally didn't sit right with me. It's rare you can remember the exact time and place that you've heard a song for the first time, but I can with this one. It was the first song of Babyshamble's I had heard, just when I was getting into The Libertines and the Shambles. I stopped in my tracks. And I listened to that song on repeat. Another great moment at Leeds was being caught up in this mass of humanity all jumping and pumping their fists in the air, all singing along.

Oh Peter. Forever's not overrated.

#7: Nine Black Alps - "Unsatisfied"

So come back down from your daydream high
Lost for words when you sympathize
There's a million ways to believe you tried
Well I'm unsatisfied

Another song that gets you from the first few chords. There's a word that I'm looking for to describe the beginning guitar riff that eludes me. Ubiquitous is not right. But it's so good, I'm excited to be taking guitar lessons so that I can learn how to play it. This song is more subtle than many of the other Alps' songs, and maybe that's what makes it so remarkable. Sam Forrest shows restraint in his delivery, while conveying the dissatisfaction with life, and people,and their excuses that seems to be so universal.

So long since the one lit up your life
So long since you've heard from the world outside

#8: The Rakes - "Open Book"/"Retreat"

You are not an open book
I can't do nothing about that
But I'm worried
I'm overdrawn
What am I doing up at the witching hour?

Yes, dammit, I picked an album track. To me, all the other songs pale in comparison, though I know I'm in the minority. This song sneaks up on you. It starts off with synth, snaps, and simple drum beats, and then fills out with Alan's croon.. and then WHAM! Guitars! Drums! Woh-oh-ohs! And suddenly you're dancing around your room like a maniac.

It's hard to pick a single to round it out, but for me, the others were pipped at the post by "Retreat." The refrain is legendary.

#9: Interpol - "Evil"

You've come to love me lightly
Yeah you come to hold me tight
Is this motion everlasting
Or do shudders pass in the night?

Is there anyone who doesn't know the first word of this song? Sing it along with me... "Rose-ma-ry..." This is one of the few Interpol songs that I like. And I more thank like it. It's literate, it's lyrical, and melodical. And the chorus makes you just want to jump up and down.

You are weightless, semi-erotic

I don't know how one is semi-erotic, but it sure sounds alluring.

#10: Franz Ferdinand - "The Fallen"

Some say you're trouble, boy
Just because you like to destroy
All the things that bring the idiots joy
Well, what's wrong with a little destruction?

What's wrong with a little destruction, indeed. Destroying their assurance that their songs would never be too wordy, Alex Kapranos fits more words per square inch of song than Britney Spears even has in her vocabulary. I don't know if this has officially been released in the US yet, but the video's done, so it's being counted. It's hands down the best song on the album, and is such a leap ahead from their first album. Even if I'll never be able to learn all the words to sing along.

You are the word
The word is destroy

Apparently work on their next album is starting imminently.

So much to look forward to in 2006. Bring it.

Oh tell me, what did you expect?

2005-12-26T16:21:00.000-05:00

Since every band worth talking about seems to be on hiatus over the holidays, I'll do some typical year-end roundups. Because I know you all really care how I rank the musical events of my year. Don't lie.

I've just recently compiled the list of gigs I went to this year (50+), so I'll start with my top 5 gigs of 2005. This does not include Leeds festival or Matt Nathanson because he falls out of the genre I usually write about. (I will one day right a massive entry on him, though.) Well, without further ado...

#1 gig of 2005:
Maxïmo Park at Bowery Ballroom, September 25, 2005

Do you know those gigs you go to, when it's a band you've seen a few times before, stating out from when they were small and unknown, whose music you absolutely adore? And then you're at this gig, and they play more music than they ever have, but they also play it better than they ever have. It's like they have coalesced, right before your eyes, into this professional and kick-ass live band, and you are completely blown away, even though it doesn't come as a surprise to you.

Yeah, it was one of those.

(Although, they'd better play "Acrobat" the next time they come through, which they've been doing at UK gigs.)

#2 gig of 2005:
The Futureheads acoustic set at Pianos and full band set at Webster Hall, June 6, 2005

The big deal about these was that I didn't really like The Futureheads up until them. My friends adored them, and I really liked "Hounds of Love," but I couldn't get into the album at all. It was interesting going to the acoustic show first. I think if a band is talented, it shines through in that sort of setting. And it works so well with their harmonies, because so much of the music of their songs is produced by their own voices. And I had so much fun at the full band show, which is saying a lot considering that I didn't know most of the songs very well. It made me walk out of there liking The Futureheads. In fact, I started to crave listening to them. And lo and behold, I liked the album (minus one or two songs) afterwards. Even loved it.

#3 gig of 2005:
Art Brut at Mercury Lounge, November 10, 2005

Modern art may not make me want to rock out, but these guys sure do. Another band I couldn't really get into prior to seeing them - though I loved a few songs and generally liked the songs, I just couldn't listen to them a lot. Frontman Eddie Argos turns the concert-going experience into a wry, jumping-around-like-an-idiot experience. Something for your mind, and your body.

#4 gig of 2005:
Bloc Party at Webster Hall, June 15, 2005

While I am still waiting to hear "Always New Depths" live, we heard just about everything else that night. The boys played two encores, smashed some stuff, stage dived and almost had to be dragged off stage. We almost had to be dragged out of there.

#5 gig of 2005:
Nine Black Alps, Hard-Fi, and The Cribs at Mercury Lounge, July 19, 2005

The great thing about living in NY is that we get to see bands that are big or are getting there in small venues. In this case, three of them on the same bill for only $10. The only band I really knew any music from was the newest band on the bill, Hard-Fi. I knew about two songs from The Cribs. But I came away loving Nine Black Alps, liking Hard-Fi, and thinking that The Cribs are fun. (I now really like them.) I've seen the first and last a few times more, and am seeing Hard-Fi at Bowery Ballroom in January.

Honorable mention:
Arctic Monkeys at Bowery Ballroom, November 16, 2005

I may be a bit down on the Monkeys for the attitude they showed, but I also really like a lot of their music and find it a bit addictive. This was the better of the two shows, and it was a good time all around.

More lists to come before the year's over...

This Is...The Next Band That You Need To Hear

2005-12-07T17:10:00.000-05:00

And if I said this is my only tendency... to really like the bands I like, and to talk about them incessantly...well, then you’ll just have to bear with me. Because you need to hear this band.

I first heard Battle when someone posted the demo of “Tendency” to a LiveJournal music community. It’s the kind of song that you listen to and go, “Wow.” Really. In fact, out of all the bands I saw at Leeds festival, the established ones and the unknown ones, I think hearing “Tendency” live goes down as possibly the best moment of the festival for me. People asked me which band I thought was the best, and even though I didn’t get to see the whole set, my friend and I both automatically said Battle. It’s the kind of song that people unanimously say is their favorite of the band’s songs. And Tim Battle nearly caused a riot when he hinted in a message that they hadn’t been able to get down a recorded version they liked and might drop it. SAVE TENDENCY, the campaign, began. Even Tarts of Pleasure, Ultragrrrl and KarenPlusOne’s dj duo, have listed “Tendency” as one of their top 10 essential songs.

And the song hasn’t even “officially” been released. Battle’s first single, “Isabelle” was released on Fierce Panda, and their follow-up, the sublime “Demons,” was released on Transgressive Records. Now, I’m supposed to tell you to buy these singles. They’re not readily available due to their limited release, though I’ve managed to procure them, living on another continent. However, there are other ways to hear these songs. I won’t tell you, though I’ve provided the means in this entry. Hey, if I do everything for you, where’s the fun in that?

Next up for Battle is “Wicked Owl” which will be available for download on their website starting December 19, but you can hear it at their MySpace page now – but finish reading this before you go listen! They’re also currently recording their much awaited, greatly anticipated first album (they are guessing on a May 2006 release...sigh...) Allegedly “Tendency” will be the next single, out at the end of February. Which leads me to believe that Tim Battle is just a big tease and likes causing people to have heart palpitations. Not funny, Tim.

And do you know what else they’ll be doing early next year? If you guessed gracing our fair shores with their exalted rock presence, then you get a cookie. They are scheduled to hit the South by Southwest music festival. Even better, they have said that they plan on dropping by New York City in early March, on their way I suppose. Watch this space for updates on any planned appearances, and let’s show them a welcome that’ll make them think twice about leaving for Texas!

Ok, now you can go listen to the song.

They twist and they shout for the boys in the band

2005-11-29T21:56:00.000-05:00

I feel funny writing this entry. I'm afraid it's going ot make me look like a wannabe groupie. And I'm not. It's not snobbery, either. But I'm not a groupie. I don't want to sleep with band members. Don't want to have their babies. Don't even want to be best friends with them. Hell, I would have to talk to them for any of that to happen. I don't. I go to enough gigs that if I did, I'd actually probably be guest-listed at this point. Only rarely when I have something specific to say do I attempt it. And even then, I wind up walking away feeling like a moron. And slightly dirty.

But there is something I've been wondering about band/'fan' interaction.

See, I like the wrong kind of music for living in New York City. Or the right kind, depending on how you look at it. If I want to hear British indie bands on the radio, I'm out of luck. But if I want to go to a gig and see a band that's big or exploding over in the UK in a small venue, I've hit the jackpot. There are a few times when I go to gigs and there are a bunch of people there. Sometimes the room is full. Sometimes there are even actually other people there who know the band. Often, even when it's full, the hipsters hold to the code of cooler-than-thou and would rather be caught dead than look like they're enjoying themselves. And so, more often than not, it's my friends and I, along with a handful of other people, who are dancing, jumping, singing. In cornier words, supporting the band.

And then there are other instances. Take for example a recent gig I went to for a band I like a lot. It was at a tiny venue in the Lower East Side. The band is so unknown here that they were hanging out at the bar during the first two sets without anyone ever realizing that they would soon be on stage. My friend actually wound up chatting with the drummer, and he even said that no one knew who they were. When they took the stage, the room was not nearly full. Far from it. And my friend and I were standing in the center, well enough back so that we didn't have to stand right in front of the stage, but no one was in front of us, and no one was in back of us. And we proceeded to rock out along with the band. In clear view of them. And we were the only ones.

Now, what I'm wondering is, in either situation, where you are visibe to the band, you clearly are familiar with their music, and are, supposedly, letting them know that at least someone in the audience is enjoying their set...and then they see you after... Ok, what I'm saying is, I would want to talk to those people. As my friend said, at least to find out how they found out about the band. In the case of the unknown band, they were hanging out at the bar afterwards again. A table separated me from the lead singer, who, minutes before I had been singing along to. But nothing. As MD said, "Is it uncool to be excited or into something? Uncool to show appreciation of it? What gives?"

I know that it's not fair to expect something like that, and it's not expectation. Not at all. It's more bewilderment. Some people are just shy or reticent. But is it something that's just not done in the rock star handbook? Do you only speak to people if they speak to you first? Is it the fish out of water thing, where being in a different country, you just feel so out of your element that you don't approach anyone? Or maybe it's true, that, even in venues where there aren't spotlights blinding the bandmembers, that they don't really see the first few rows of people. So even if you're standing right in front of them, even if you've made eye contact or sung along together, they really don't see you. It's something I don't think I'll ever understand. Even if just being in the best interests of the band to cultivate that support base in a hostile country? It's one of those showbiz mysteries, I guess.

Though obviously it's not the point of any of it.

The Semi-Attractive Undertow

2005-11-18T13:02:00.000-05:00

Last night I ventured out to Williamsburg for the second go-round of The Gorgeous Undertow. The name is borrowed from British Sea Power’s song “Carrion” (my favorite song of theirs), and they’re advertised as “a club night of new British music for New York ears,” but if you go expecting that, you’ll be disappointed.

When we got there, the Royal Oak was sparsely populated, dimly lit, with music playing in the background. I checked the back room where I have been to a party previously with a dj and lot of people dancing, and it was empty. I re-joined my friends at the bar, and one of them asked the bartender what the deal was. He pointed at these people at the end of the bar who were fiddling with some things and indicated that was “them.” iPod djs extraordinaire. We waited for a bit to see what they had in store, and after a few songs I couldn’t place, the familiar strains of the Kaiser Chiefs’ “I Predict A Riot” started playing. A nice string of songs followed, during which a friend and I got up and jumped around a bit, being the only ones there doing so. Some requests of ours were played, and more jumping around ensued. Eventually we just sat down, the djs switched, and the music got bad, and we left.

Really, The Gorgeous Undertow is a glorified listening party at a nice local bar that filled up as the night went on, though there was no way of knowing if it was just locals coming out or people coming for the “festivities.” If I hadn’t been all geared up for a night of dancing to music that I love, and instead had been expecting a chill night of drinking while listening to that same music, I probably would have had a great time. It’s a bit out of the way to go just to be able to drink to good music, but it is only once a month. We’ll see if the fancy strikes me again next month.

But can someone now make an actual British indie club night? Anyone? Please? I’ll be your best friend.

The Arctic Who?

2005-11-17T10:51:00.001-05:00

The Arctic Monkeys are going to save rock and roll.

Or so everone tells us.

Armed with this alarming/hopeful information, a vague memory of their set at Leeds festival, and many recent hours of playing and enjoying their tunes, I ventured out to see them at both their New York shows. I anticipated the Mercury Lounge show (and their first show in the US) to be the better of the two, since it was a smaller, more intimate venue, as well as being 21+. I've been to shows there that have been filled with Brits, so I expected them to make up the majority of the audience. Instead, it wound up being the Bowery Ballroom show that was a veritable hometown reunion.

The first show put off several people, including the band themselves, as it turned out to be mostly industry wankers, and the crowd lacked enthusiasm (other than near drunken hooliganism.) Despite the conversation we had with these very enthusiastic large gentlemen behind us before the show, one of whom swore that there hadn't been a band like this since The Who. Standing up front, singing along with Alex Turner, jumping around with a girl next to me from Sheffield, I didn't notice that much. I noticed it in the band's attitude, though. Aloof on stage, though still interacting with the audience, they seemed skeptical of us, rather than the other way around. Maybe it was because it seemed all these big muckety-mucks were there to see what the hype was all about, or maybe it was because they all believed it, and didn't really care if it was true. They played an eleven song set plus intro, with no encore. They didn't play one of the fan favorites, "Mardy Bum," which actually quite bummed me out, as it's one of my favorites (and I managed to steal a second of Turner's time after the show to request it for the next night, and actually even got a second of his attention during that time). The lack of encore made the slight even more acute, but who knows how bands decide whether they're going to be one of those bands that do or don't? But the music was tight, the music rocked, and that should be all that mattered, right? The only reason that you came...

Wrong. I was floored at the difference between the two shows. Hanging around at the bar downstairs before the doors opened, you could tell just by listening to the various dialectic British accents that this crowd was going to be different. Despite the fact that apparently David Bowie, Muse, and Mike Skinner were there as well. But how would that affect the show? Riotously, that's how. From the second song on, a group of people shoved their way to the front, and proceeded to turn this show into a British gig, replete with shoving and singing along. Which apparently the band loved. More "on," more inspired, they played even better than the first night. Alex asked where people were from, and raised an eyebrow when several of the answers screamed out were, "Sheffield!" This is what they're used to, and we got to see them in their element. Turner even took the piss out of the industry people there, noting, "There's a balcony tonight. There weren't one last night." He commented on how he usually feels bad, that the people on the floor have the bad seats, and the people in the balcony have the good seats. He also noted how, in this case, that's quite true - "There's even a velvet rope and shit, isn't there?" A bit later on he asked who gets to be up in the balcony? Record execs? Journalists? After dedicating "Fake Tales of San Francisco" to "Sheffield," he also took a pot shot at the balcony elite by singing, "There's a few bored faces in the top all wishing they weren't there." Can't argue with that one.

The set list was the same as the night before, "View from the Afternoon," "Bet You Look Good on the Dancefloor," "Still Take You Home," "Dancing Shoes," "Fake Tales of San Francisco," "You Probably Couldn't See," "From the Ritz to the Rubble," "Vampires Is A Bit Strong But...," and "Sun Goes Down," (aka "Scummy"). At the Mercury Lounge, their penultimate song was "Red Light Indicates Doors Are Secured" instead of the slated "Mardy Bum." The big moment came last night, the question that was hanging in the air for me, and calls for "Mardy Bum" had been coming all night, either because the news they hadn't played it had spread or just because it's the song everyone calls out. When the first few chords started, I have to admit, I squealed like an excited child. (It wasn't until afterwards that I started to resent it.) They ended with the nearly epic "A Certain Romance," and for a split second it seemed as if they were going to play an encore this time, but then the house lights came on, dashing our hopes.

I was quite conflicted. As a music fan, I was on a high from a great show. Last night's show allowed me to see what it is that the people in the know see in this band. Alex Turner has musical talent and presence well beyond his 19 years. The other band members remained silent both nights, allowing Alex to be the focus of attention and bear the weight of having to banter, having to be the showman. With the audience responding "correctly," I got to see a bit of his cocksure attitude, and see him really put on a performance. But as a New Yorker, and to a different degree, as an American, I resented the fact that it took an audience that was at least half British to elicit this performance. Last night's crowd 'earned' "Mardy Bum" - I would never flatter myself to think he played it because I asked the night before. But they can't expect every crowd to be like a crowd from the country where they've had a #1 single and who has known their music for a while. They're supposed to be winning over Americans, not playing to Brits. They're supposed to be winning us over, not vice versa. Maybe their attitude isn't just an attitude, and they really don't care about having any success here - if the record company wants to bring them over, they'll play, but they're not fussed about "breaking" America.

That said, if they come back, and to a town near you, go see them. Preferably see them with a primarily British audience. If that can be arranged. But don't do it for the hype, because hype is only ever an illusion. And what's left after that's gone is the music. Their songs are readily available all over the internet. Find them. Learn them. Live them. You won't be able to get them out of your head. There's a reason why they are touted as the next saviors of rock and roll, and it's not because they can take down record execs a few pegs.

Just don't expect them to be The Who.

Haven’t read the NME in so long

2005-11-06T01:56:00.000-05:00

An American’s journey on the New Musical Express
Soundtrack: Art Brut

Don’t know what genre we belong
Yes, even being American, I’m well aware that the NME is evil incarnate. The thing about it...it’s so unlike American music magazines. And yes, tabloid-ish. But still, it’s so British. The first issue I ever read was the fannish inquisition with Franz Ferdinand. I couldn’t stop laughing. I’d never read a magazine like that. The humor, the derision. I mean, even the captions take the piss. I guess since I’m not under the long arm, or having to live amongst the people it brainwashes, I just see it as a magazine. Certainly not journalism, but it serves a purpose.

I don’t read it very often (the price tag here - $5.50!! - is enough of a deterrent), but I pick it up once in a while if there’s something I’m interested in. Come to think of it, I think this is only the third time. This time it was a teeny tiny piece on Dirty Pretty Things, Carl Barât’s new band. Happened to be the issue with the Arctic Monkeys on the cover (how cocky does Alex look??). I bought in on Thursday, in this little news seller in SoHo...and it was the only copy left. Apparently I wasn’t the only one aware of the hype. My copy was a bit damaged, but I decided to get it anyway. (I guess this means I'm not selling it on ebay...haha)

If memory serves, we’re still on a break
Pages 6-7: Carlbând coverage
Well, it might as well be called that, for all they talked to the other members. I am excited about this band. Maybe cause I get to be in on it from the ground floor. The live recordings I’ve heard sound promising. Carl’s lack of confidence and ego always amazes me. I enjoyed this, particularly – they asked him if having three people singing at once are a reflection of how the songs were written, and he answered, “They’ve come up with parts and stuff, they’ve certainly had an input because we’re a band. That’s why we didn’t come out as ‘Carl Barât’. And I hate my name!”

Of course they played up the fact that he used the word “hiatus” when referring to the Libertines, and he admitted that another album is a possibility. Bloody tease.

It’s got nothing to do with anything I’ve had to drink/It’s more to do with the way I think
Flipping through: Oh, the ads, the ads. All those singles. I’ve lamented recently on the lack of a singles market in America. *is jealous*

Who the fuck is Charlie Simpson? All I know about Fightstar is that they were the big joke at Leeds and people wanted to see them to throw things at them.

I just wanna find a drug that works
Pages 18-19: the Letters page, edited by Barry Nicholson

(Barry Nicholson, I just think of that picture someone once posted on a forum asking who he was, and how all the girls thought he was so hot. And someone on the forum is friends with him. Bizarre. His editorial interjections make me laugh, though. Oh yeah, he can edit my letters any day.)

Blah blah blah Pete Doherty blah blah blah

Stay off the crack

There's a noise in his head and he's out of control
Pages 20-21: Lupen Crook
Here’s one that escaped the child psychologists. Although he’s probably doing all of it to get a reaction, that’s what people like him do. I downloaded two songs by him, though I haven’t listened to them yet, but others were saying they were quite good.

I did like his insight, “If you shone a certain type of light in this room, you’d be able to see a tangle of ideas and thoughts bouncing around the room. Some would be jagged, some would be pearly. Some would head off into outer space for 3,000 years before bouncing back off a mirror and hitting someone else in the head on the way down.” It’s always people like him who come up with brilliant things like that off the top of their heads.

Formed a band, we formed a band/Look at us, we formed a band
Pages 26-29: Arctic Monkeys (aka not just the next big thing)

This band is one of the favorite thing for music enthusiasts to argue about these days. The real thing or hype? Does it matter? Perhaps my favorite part of the article was this sentence, “While Alex Kapranos busies himself namechecking Aleksandr Rodchenko, Arctic Monkeys write songs for you and me.” It’s true. For someone who is anti-elitism, Kapranos throws around obscure references that are quite elitist. They call Alex Turner a lyrical genius, and I suppose if you live in Britain he is. To me, his lyrics are straightforward, not overly profound, but they apparently encapsulate a whole existence for Brits. His social commentary is lost on Americans, but lucky for him, the songs are still accessible and quite enjoyable. Of course, the paragraph goes on to say that “Arctic Monkeys write songs for you and me...for people who aren’t from New York City.” Oh well, sucks to be me, I guess.

I love the dialect. I have never before heard/read/seen “were” used as “was” before, but they say it often, and it’s just a bit charming. (But of course any British dialect is charming to an American, eh?)

Caption of the issue is one for a picture of the guys, with Alex holding a pint, “When the royalties come flooding in, the Monkeys will be able to afford a pint of beer each.” AND there’s a picture of them onstage at Leeds. That’s more of them on stage then I saw actually being there.

Sometimes it’s hard to stop, when your heart is set on top of the pops, top of the pops

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Interlude
Popular culture no longer applies to me

Arctic Monkeys and The Paddingtons back to back... I feel so old. Some of these bands, it’s borderline pedophilia for me to look at any of the bandmembers twice. Truth be told, I’ve noticed that lately, instead of being gripped with the desire to have their babies – with a few notable exceptions – I’m instead gripped with the desire to FEED them. Jesus, are they skinny. (Yes, the transformation into my mother has begun.)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Stop buying your albums from the supermarket
Pages 37-43: The reviews...I read the album reviews in Entertainment Weekly this week (we don’t do singles, remember?), too. I could cry at the difference of names listed. But anyway.

Test Icicles. Really, it’s so obvious, it’s almost not funny. The review rocks, though, for having the nerve to say that the Beatles weren’t all that. Amen, son.

Reading the review for Arcade Fire’s Wake Up, “Something Filled up my heart with nothing/Someone told me not to cry...I guess they’ll just have to adjust,” I’ve realized that I like their lyrics more than I like their music. Lucky I read that or I would never have known how beautiful they are.

But the Kaiser Chief’s Modern Way “sublime?!” Uh, okay, if you say so.

It’s not irony and it’s not rock and roll, we’re just talking to the kids
Pages 46-58: Gig reviews and ads

The NME Rock’n’Roll Riot Tour. I would have loved to have seen this, just for another chance to see Maxïmo Park. I’m jealous. They’re so good when they’re here, but I just bet they save something extra for their home shows. Boo. But I’ve made a convert. A good friend of mine went to the show in Glasgow, with the Kaiser Chiefs and The Cribs being two of her favorite bands, she said that if MP are as good as I say, they have a lot to live up to for her. Afterwards, she greeted me with, “How good are Maxeeemo? Hello my new favorite live band, I love you.” *smug* And you’ve gotta love a frontman who is bookish, reads the lyrics from a book on stage when he loses his “little red book,” and admits that the only time he’d visited the Apollo in Manchester was for an English conference. *loves* “Whisper it, Maxïmo Park are becoming a big band.” Sigh/yay.

Runner up caption of the issue is for a picture of Ricky Kaisers crowdsurfing: “An inflatable brontosaurus is lifted above the throng during the Kaisers’ set.” Ok, so his face is a bit chubby, but why does everyone persist in calling him fat?

And, OH. MY. GOD. RYAN CRIBS. IS. WEARING. THAT. SAME. DAMN. SHIRT. Complete with new (and old, I’m sure) beer stains. Someone teach that boy how to do laundry!!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Interlude 2
I don’t wanna girl that’s with the band/I just want a girl who’s gonna hold my hand

These girls at the shows, how do they all look so damn stylish? Man. You know, if I looked more like that, maybe I’d actually go over and talk to the band members after shows. Or not. Depends on whether I have a sandwich with me.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

There’s not much glam about the English weather
Sigh. All these ads for gigs. I want to move to the UK just for the music scene. Irony being, I get to see these bands in smaller venues than people there have been able to for ages. I just have to wait longer for them to get here, and it takes more time in between.

There’s no shame in giving in
Is it awful to admit that I’ve actually really enjoyed this issue? Yes? Oh well, don’t tell anyone, okay?

A pale thin boy with eyes forlorn

2005-10-30T21:17:00.000-05:00

Since I've already given a disclaimer to my non-ability to write an album review, I'm absolved of any wrongdoing in what I'm about to write. You may or may not have gotten ahold of the leaked Babyshambles album, Down in Albion, but I have, and I want to talk about it. "Review" is such a harsh word. Maybe it can be my own style of review. They'll name it after me. A "wreview."

Look, I love the music, but I'm no Pete Doherty scholar. I dont have each and every bootlegged version memorized. I can't tell you which songs were combined to make up which songs on the album. But I listened to the songs, and I'm going to tell you what I think of them. And tell you, first of all, that I'm disappointed that "Do You Know Me" is not on the album. It's one of the ones from all the live sets that I like the most. Anyway, on to what actually is on the album.

"La Belle Et La Bête" (aka "Kate Moss Sings")
I like this song. It has an old fashioned movie vibe to it. There's a word for it, but it escapes me. Perhaps "noir." It has a slightly sinister feel to it, which is played up when Pete sings, "But then the conversation turned eeeevil." My favorite part is when it picks up by the "You turned your back upon her one too many times..." A line I can relate to. As well as the, "Is she more beautiful than me?" That's female insecurity in a nutshell, though made less plausible sung by a supermodel. (One I've never found particularly attractive, personally.) I can stand Kate's voice, but let's hope she's not aspiring to a recording contract now that she's lost her modeling contracts. I like how Pete mutilates the real language when he says "She's the belle of the bête of the ball."

"Fuck Forever"
It's unanimous. The Zane Lowe session version of this song is the best, hands down. I first heard it, and the song, when it came on shuffle while I was waiting for a friend in the 34th Street subway station, heading onto the PATH train to New Jersey for a gig. I was blown away. The song is that good. I listened to it on repeat, about six times in a row. And when my friend got there, I couldn't stop raving. She was amused. I think the album (and single) version is overproduced, especially with the layover vocals. The noises he makes after "They'll never play this on the radio" sound vaguely like him trying to hurl. But, you know, it happens. The line "But I'll never sever the ties" makes everyone raise their eyebrows. Hmm... Even so, it's such a good song. But this version isn't the one that goes on my mp3 player.

"Á Rebours"
I don't have too much to say about it, other than I really like it. The bass line kicks ass. And I love the line, "You ignore, adore, a’rebour me," even though it doesn't quite make sense.

"The 32nd of December"
I LOVE the title. Pete is cleverer than us mere mortals. It's a happy sounding song, but that's misleading, obviously. "You'll be nobody's fool but your own." He should take his own advice.

"Pipedown"
I. Love. This. Song. It would get stuck in my head before I even knew which song it was. It's a great recorded version, with a shout along chorus. I am a bit disappointed that he doesn't roll his "r"s when he says "right." I've always liked that. And I love the short guitar at the end.

"Sticks and Stones"
Or Pete Does Reggae. It annoys me that he references himself ironically. "Don't look back into the mother fucking sun." Argh. Not a fave.

"Killamangiro"
In terms of instrumentation, the consensus seems to be that parts of this version are better, and parts of the single version are better. I like the single better. I miss the rough guitar pieces. And the chorus seemed more...anthemic, spirited. This version seems more rote, less boisterous. The background vocals before "On the off chance..." are just pure cheese. And I miss the "On the off chance you listen to the radio, I thought you might like to know you broke my heart." Granted, it's a good thing it's been "la la la"d over - it shows a lessening of animosity. But the original had such poignancy, and was just a bit heartbreaking.

"8 Dead Boys"
Nothing particular sticks out about this song to comment on, just that I actually rather like it.

"In Love With A Feeling"
A harmless ditty, but the title lyrics have always appealed to me.

"Pentonville"
No. Just, no. We get it. You were in jail. It was rough. You're grateful to the General. But no.

"What Katy Did Next"
First of all, it's Katie, thanks. And what's with all the clichés?! This song is an insult to the original. Was it just to make a point? If so, you did - lightning doesn't strike twice. You don't get a song like the first again. Polka dots fill my eyes, and I don't know why.

"Albion"
This is perhaps one of the most poignant songs any band has ever written. People are so personally attached to this song, that either saying anything positive or negative about it can hurt feelings. Hearing the first few chords of this song does not fail to get me choked up, whatever version (and I don’t’ even live in “Albion.”) People either love this version or hate it. I seem to stand somewhere in the middle. A lot of people are saying that the only version of this song could (and should be) Carl and Pete, with acoustic guitars and a harmonica. And yes, that’s my favorite too. But that version wasn’t going to wind up on an album like that, it would have been finished and probably been overdone. It especially wasn’t going to wind up on a Babyshambles album. So to say that any version but that one is blasphemy is pretty unrealistic. As for the one we do have – I’m retracting my stance a bit. I never thought it was awful, and it’s certainly not great, but it’s ok. Maybe good, even. It could have been so much worse, really. They could have electrified it, but they didn’t, it still retains its “acoustic sensibility.” To me, what keeps it from being great (much less my favorite version) is just a bunch of little things. The weird noise at the beginning and the end. The cheesy repeating “anywhere in Albion.” How Pete keeps shifting keys, and strains to reach the high ones. Even the way that Albion is pronounced in the song (being American, I wasn’t even sure how to pronounce it at first. After all, the British pronounce everything differently – “aluminium,” anyone?). But as I said, I don’t think it’s a bad version. It’s a “real” song, now, it was going to have to be produced, and that shouldn’t be held against it. Still, I think I would like it a lot better without the “anywhere in Albion”s (but leave everything else the same).

"Back From The Dead"
I really like the instrumentation/melody line. And notice the "shoop shoop shoop delang delang"s in the background? WRONG SONG, dumbass.

"Loyalty Song"
This is the only song I recognize the conglomeration of different versions. It's pretty easy, considering it's right in the lyrics. "What did I dream?" (Or was it always called this?) But I've always liked it. It's a happy, pleasant song. A nice contrast to some of the others.

"Up The Morning"
Why does it take so damn long to start? Once it does, it misleads you into thinking it's going somewhere good. I don't like the "up the morning"s. It has a dissonance in melody and vocal tone that is characteristic of Pete's solo work (it's much less melodic than the Libs' stuff.)

"Merry Go Round"
It's very troubador-like. I prefer Yeti's, though. The "you should get some sun on your face" part is so pretty.

All in all, there are many harmless tracks on this album. They just don't stand out. In an album of 16 songs, should there be more? There are definite stand outs, but they're mostly the ones we all knew already. In general, I just find his music with Babyshambles lacking. It doesn't live up to any of The Libertines' stuff. There is less song structure, more meandering, which may appeal to some, but not to me.

I'm not disappointed, though. I wasn't expecting an earth-shattering album. But it's not one I'm going to listen to all the way through often, though I'll definitely pick out the tracks I like for my mp3 player.

The album's out on November 14. Buy it. You know you need a copy in your collection.

Background check

2005-10-21T11:49:00.000-04:00

“I’ve got enormous holes in my background knowledge of music, which is quite exciting to me in a way. The things I love I fall in love with obsessively, and everything else either doesn’t interest me or is something that I can later look forward to learning all about.”

-- Carl Barât (Taken from Adelaide's weekly Rip It Up Magazine, issue 849)

All I have to say is, thank god it’s not just me!! I have huge holes in my musical background, too. With siblings much older than I am, you would think I’d have a vast knowledge of classic rock bands, but not so much. I grew up on Michael Jackson, Culture Club, and more than anything else, Simon and Garfunkel. Also some big band/swing, and oldies (like, “Blue Moon” oldies. But they’re so good.)

American music fans can’t believe I never got into Led Zeppelin or the Rolling Stones. The best I can do with that is say I know some Boston and Aerosmith. Not really the same thing. British music fans can’t believe I don’t know anything by…well, it’s so bad, I don’t even know the bands I should be listing there.

Mostly, this doesn’t bother me. I feel exactly the way Mr. Barât described – the music I love, I love obsessively, and the other stuff I just don’t care about or I will one day, but I’m not bothered in the meantime.

But this also is one of the big reasons I cannot, for the life of me, write a decent music review. Things of an analytical nature, no problem. But an actual single or album review? Fuhgeddaboutdit. Because I don’t have this vast background knowledge, I am useless. I can’t write one of those “this band sounds like that band in their this band phase” which typify so many music reviews. (I also don’t necessarily know enough about instruments and production aspects.) I wrote ONE. I’m not proud of it. Please don’t ever read it. (I will not tell you where/what it is.)

I feel a bit better, though, knowing that Carl might not be able to write a good one either. (Just humor me, ok?)

A rose by any other band name

2005-10-10T18:19:00.000-04:00

Franz Ferdinand? Or the Karelia? Or the Amphetameanies?

Kaiser Chiefs? Or Parva?

It’s an old story, but it’s still a recurring theme in music – famous bands that have existed in previous incarnations, or at least their band members have. It makes one wonder though – ok, it makes me wonder – what is it about the new improved version that makes it work? And when the artists all say, “I’m just being true to myself” or “We’re just being true to the sound of the band,” how do we or they even know what the truth is? What makes a band’s new sound “them?” Why is it different? And why does it all of a sudden work?

Former Indie upstarts (currently suffering from NME-darling backlash syndrome) Kaiser Chiefs were formerly known as Parva.

“New York(shire) band Parva are one of the most exciting British bands around at the moment. Hailing from Leeds, they ape no-one; they are their own band doing their own thing, making music that is as infectious as it is original in the process.” (Read more here)

I repeat, “they are their own band doing their own thing, making music that is as infectious as it is original in the process.” They apparently toured with the likes of The Rapture and The Libertines. And yet, they no longer sound remotely like Parva. They certainly no longer look remotely like Parva. (Exhibit A: Drummer Nick Hodgson’s former short, spiky haircut, compared to his current long, mod, “indie-ly correct” ‘do.) They change their sound, their look, Ricky starts yelping and drinking too much, and all of a sudden, they’re famous.

Alex Kapranos is well-known for having been in bands before Franz Ferdinand, and one of the songs off the new album You Could Have It So Much Better, “Outsiders,” is a reworked version of one his own songs. Paul Thompson, Franz’s drummer was in the Amphetameanies with Alex, as well as being a member of Pro Forma. Different to the Kaiser Chiefs in that this was a new grouping of band members, is it the new combination of band members and what they bring to the sound of the band?

Or is it a certain indefinable thing that just clicks, that just makes it right? The thing that makes the “It” people IT. The way you know when you just connect with someone. Can you assume that things, when they’re the way they’re supposed to be, the connection between the band members is "right," and everyone’s being true to themselves, that everything coalesces, and that’s why the hit it big?

Is it freak luck? Is it some reaction to or gauge of the trends in the music industry, or better, anticipation of where things are headed? Does that make them sell-outs? Can you fault a band for wanting to be successful? Can you doubt their integrity as musicians, or as being true to their art? Is it just one of those showbiz mysteries?

And the bigger question: Does it really matter?

Attention New Yorkers!

2005-10-07T15:47:00.000-04:00

Ever get tired of never having anywhere to go to party/drink where they're playing "your" music (or rather, my music)? Well, someone felt your pain...

The Gorgeous Undertow

Now the only question is, how good is the beer at the bar??

Why'd I have to read about this on the UK Yahoo homepage? :S

2005-08-08T14:43:00.000-04:00

Monday August 8, 05:09 PM

Inaugural New York music fest renamed, expanded

NEW YORK (Billboard) - The inaugural New York music festival initially dubbed Across the Pond has been rechristened Across the Narrows.

Set for October 1-2 at Brooklyn's Keyspan Park and Staten Island's Richmond County Bank Ballpark, the event will feature headlining sets from Oasis, the Killers, Beck and the Pixies.

The Pixies will anchor the October 1 bill in Brooklyn, alongside Gang Of Four, Built To Spill, Rilo Kiley, Death From Above 1979, Mando Diao and Nine Black Alps. Simultaneously in Staten Island, the Killers will play with Interpol, the New York Dolls, British Sea Power, Lake Trout, Tegan & Sara and the Ordinary Boys.

The next day's shows will feature Beck, Belle & Sebastian, the Polyphonic Spree, the Raveonettes, Gang Gang Dance, Whirlwind Heat and a band to be announced in Brooklyn, and Oasis, Jet, Doves, the reunited Lemonheads, Kasabian, Jesse Malin, the Redwalls and an undetermined act in Staten Island.

Reuters/Billboard

Every verse a diamond, every chorus gold

2005-08-02T15:44:00.001-04:00

I've noticed from talking to music-type people, that we tend to fall into two categories – people are “grabbed” by a song either because of the music or because of the lyrics. Being a lyrics person myself, I was quite surprised when I began to realize that not everyone noticed lyrics or was as affected by them as I am. Not that music people don’t notice lyrics at all, but it grows, and is secondary to the melody/beat. But the lyrics consume me to the point where I begin to analyze songs like I do poetry, and I’ll often jot down a favorite song lyric and put it up someplace where I’ll see it often.

I can’t, repeat, cannot like a song if the lyrics are inane, no matter how good the beat is or how many hooks the song has. My senses—or maybe it’s my intellect?—recoils. Clearly I am not in the majority, because the popular radio stations are blaring crap that appeals to the masses based on how good it is to dance to (or beat your girlfriend to?) Years ago, I had an argument with a friend who was quite enamored of the most ridiculous song because it had a good beat, and I said, “How can you stand to listen to that crap, have you heard the lyrics?!” And she confessed that, no, she really hadn’t paid attention to the lyrics before.

That’s an extreme case, clearly. I’d like to think that more often people with any sense (or actual taste) will come to notice the lyrics, and perhaps not like a song as much if the lyrics are just hideous.

But all this leads me to my newly formed contention, or theory, if you will –

A song can be a good song with a good melody/beat and bad lyrics, but only songs that have good lyrics can be great songs.

Think of it this way – people need something meaningful to latch onto, and they find it in lyrics. They have everything. Heartbreak, revenge, revolution, politics. A song that doesn’t affect you in some way is not going to become a song you consider great.

And the thing about song lyrics is, they don’t even have to be the most profound, innovative, or poetic. Sometimes it’s simplicity that hooks you even more. Take this example – and it’s only because I just heard the song and it struck me – from “Warning Sign” by Coldplay, (and no, I'm not saying this is a great song) who are admittedly no poet laureates: “You came back to haunt me and I realized that you were an island and I passed you by, that you were an island to discover.” Hasn’t everyone been in a situation where you feel you’ve done that to someone and regret it, or feel it’s been done to you and hate it? It’s simple, understated devastation.

If a song doesn’t make you feel, it fails, and therefore it cannot be great.

I will admit that I do have a gut reaction to certain musical pieces, whether a guitar riff, an intro, what have you, running the gamut of many emotions. The intro to “Going Missing” chokes me up every time, just by the tone of the guitar. But it isn’t till the lyrics start that I could actually cry. Or [insert appropriate reaction here].

Maybe this goes back to the eternal conflict of musician vs. lyricist. Very few artists are remembered simply because of their musical prowess (and maybe even fewer deservedly so). But the songwriters, the troubadours, they’re legendary.

Conversely, a song with amazing lyrics and bad music will fall short as well. But I can't think of one great song that doesn't have good lyrics.

Or maybe it’s just me being biased. Feel free to tell me so. I’d like to know what everyone else thinks. :)

I've got nothing left to lose

2005-07-31T11:37:00.000-04:00

I've read a few reviews of Maxïmo Park's newest single "Going Missing," and I haven't been satisfied with any of them. It happens to be one of my favorite songs on the album, and so while no one asked me to, I thought I'd take a shot at writing my own review...

From the first few chords of Going Missing’s wistful guitar intro, Maxïmo Park set the stage for one of the most melancholy and heartfelt—yet danceable—tracks on their album. It leads perfectly into the heartbreaking refrain, “I sleep with my hands across my chest and I dream of you with someone else,” a sentiment we can all relate to. As the pre-chorus swells into a piercing lilt, we’re struck with a twist in the lyrics, when “this can’t go on so I should just regret it” is followed by “and even though I led you on, forget it…” By all accounts, this song seems to be about someone who was wronged, but no. The song becomes a lesson about how sometimes it’s just as hard to be the one to do wrong, the regret that accompanies it, but how sometimes you just reach a breaking point. And how you just need to get away from all the things you’ve left behind. The song breaks down into a synth riff, and as if to echo this drop in energy, the song asks, “do you ever want to wear your body out…has midnight come too soon again?” The chorus starts up again, energetic and defiant even—“I’ve got nothing in defense”—and for a few seconds, we are filled with hope that everything is going to be ok, as the guitars play on. But once again, a twist, as the guitar intro and synth riff sweep over us again, we cannot fool ourselves into escaping regret, “I sleep with my hands across my chest and I dream of you with someone else…”

******
I've also just listened to Kate Bush's original version of Hounds of Love. And I have to say, it is truly remarkable what The Futureheads turned that song into. Perhaps this is sacreligious, but in my opinion, they turned an ok song into a fucking amazing one. How do you like them apples?

Living in the ruins of a castle built on sand

2005-07-01T00:02:00.001-04:00

It's the biggest cliché. It really is. Any music blogger who is into indie music, and specifically British indie rock, is going to write something about The Libertines. So fine, I'm a cliché, but I can't help it. I feel the need to expound.

My story begins almost a year ago - August 2004. (And anyone who knows anything about them realizes how late to the party I was. Pete wasn't even with the band anymore. Granted, I was just getting into that music scene; I might have heard of them sooner if I had done so sooner.) My friends and I met these two British guys at a bar and invited them to a party. Along the way, I struck up a conversation about music, ever eager to get the inside scoop. (Gives new meaning to the term 'one track mind,' eh?) "What do you think about Franz Ferdinand?" "Roooobish." "Really? Then who would you recommend?" "The Libertines." "Oh, never heard of them. I'll have to check them out." (Turns out they had played in New York two days before that.)

And I did. I bought The Libertines. And I listened. And aside from the first song, ("Can't Stand Me Now") nothing really grabbed me. Oh well, a cd's worth of money gone in the name of experimentation.

Fast forward a few months, and I was involved in several online communities, and more importantly, speaking to several people from said communities who were fans. When you talk to British music fans, you can't escape The Libertines. They're everywhere. They are an integral part of the social fabric of the UK and have been so for years. And I hadn't even heard of them. A couple of people in particular that I was close to were passionate about their love of the music, and I thought, "Hmm, maybe I should give them another chance?"

So I popped the cd back in, and holy shit, it was a revelation. HOW FUCKING GOOD. I couldn't believe it. I had to buy the first one as well, and I've also bought singles and EPs, even a 7" vinyl that I'm all excited about. All that's left of The Libertines is their legacy - their music. And what a legacy it is. They have it all. They have the fucking amazing beats in songs like, to name a few, "Don't Look Back Into the Sun," "Vertigo," and "Last Post on the Bugle." Then they have the songs that move you, just, incredibly, like "The Good Old Days," "Tell the King," and "Music When the Lights Go Out." (Everyone has their own; these are mine, but so many more as well.) Then you have a song like "What Katie Did" that just stands on its own - who even uses "shoop shoop shoop delang delang"s in this day and age, much less so fucking effectively?!

And I was gone. Because the saga had already fascinated me, and once I loved the music, that was it. But it's strange, because it's a vicarious fascination - I'm fascinated because of how much everyone else is fascinated. I'm lucky, because I missed all the scandal, all the drama. I live in an NME-free world, and the music is completely untainted for me in that way. But you speak to people, and there are literally factions. You have your Pete people, your Carl people, your Pete and Carl people, and then the people who think the other two are both wankers and John and Gary are the real unsung heroes of the band. It's like they're political parties. Some people don't even like the music because of all the drama that went along with the band. Drugs, band members breaking into fellow band members' flats, arrests, kicking one of the main members out, more drugs. "What a waster, indeed," I was told. (I'm proud to say that I convinced one such person to listen to one of my favorite songs of theirs, and she now hates me because she loves it.) There are all the different sessions they've done, that fans will trade freely, when they've only put out two actual albums. It's almost like a cult.

Then there's Pete. Peter Doherty. The name evokes adoration, hatred, admiration, and yes, fascination. How many people are fascinated by Pete? He's a force. It seems he's a man of the people, and the people worship him. And he brought the music to the people - I've been told he was the one who started The Libs' practice of holding gigs in their flats. (His new band) Babyshambles doesn't show up for gigs, and people riot. It's unbelievable. (And I had never even heard of this guy!)

People say that Carl was the musician and Pete was the lyricist. You have people selling badges on eBay that say "pete doherty, poet laureate." As far as I know, Carl does not inspire the same reaction in people - oh, except the females. But historically, it's always the lyricists, the poets, that capture our hearts. Take Bob Dylan for example - the man is a musician, he has made album after album, yet what is he best known and loved for? His lyrics. Because even if you can't stand to listen to him sing his own songs, you know when you hear other people singing them that they are damn good. And you know that it's a Dylan song. Pete's lyrics do that for me, and for so many others. If this post weren't already epic, I would quote some. Ok, maybe just the one, the one that so many people know, that resonates with anyone who loves music about as much as they love anything else in the world - "But if you've lost your faith in love and music the end won't be long." Fuck me, I couldn't hope to ever write anything like that.

Pete has become a tragedy, though. What the drugs, the lifestyle, has done to him. But think back to all the most creative people in history, and how many of them were manic-depressive? People have questioned whether the mania drives the creativity, whether it's what makes them so extraordinary. If they were psychologically sound, would they be just regular Joe Schmoes? Couldn't the drugs be seen as sort of self-induced mania? Which leads to the question - would Pete be "Pete Doherty" without the drugs? People want him clean for his life, but does he need to stay high for his art?

Although, I have to say, that as much as I love "Fuck Forever" and like "Killamangiro," I think that Pete's Babyshambles music is inferior to most of what The Libertines have done. The lyrics may be there, but there's something lacking in the melodies, the music. I find them to be a bit draggy, not as well-formed, not as mind-infiltrating. The magic is missing, and it seems that the secret ingredient was the combination of Pete and Carl. I've yet to hear any of Carl's solo stuff, but it will be interesting to see if the same holds true for it.

Now, here we get to the part where I'm entirely unlucky. Having missed this all as it was happening, and, being of a different nationality, there are so many things I don't get. First there are all the British references that simply go over my head. Things like "Albion" and "Arcady" that I had to look up. And I hate it that I just don't understand why "Time For Heroes" is so anthemic. People worship that song, and it means nothing to me, really, other than the line, "there’s fewer more distressing sights than that of an Englishman in a baseball cap" amusing me no end. I want to know. As I want to know about the mythology that surrounds this band. Albion and Arcady are not just historical British references, but they have meaning in terms of the foundations of the band that go beyond what I can discern from this distance, though I've begun to get some idea. But things like, why the similarities in the beginnings of "Tell the King" and "The Man Who Would Be King?" What exactly is Babyshambles? Where does it come from and what does it mean? Why did Pete choose it as his band's name? Having done sessions entitled the Babyshambles sessions, clearly it predates Pete's new band, and has something to do with Libs' mythology. But you don't want to ask, because it marks you with a big "N" for newbie, and as friendly and open as the fans are, doing so would just make you feel pretty stupid. Besides for the fact that it's just so over. I've missed it. And I'm just left playing catch-up.

In fact, because of my distance to all this, both geographically and chronologically, this whole analysis is most likely incomplete and/or incorrect. (Please don't lambast me if it is!) But that's the thing about this band. They inspire people, inspire them to make music, inspire them to love music, and inspire them to love and be fascinated by them and their music.

Which clearly I am. Well done, lads.

"...how I’ll never be anything I hate..."

2005-06-29T15:29:00.000-04:00

Franz Ferdinand have given NME the exclusive comeback interview for their second record, revealing the inside story behind making the follow-up to one of the most successful British debut albums in years. The band reveal that the new album will be untitled and only distinguishable from it's predecessor by a change in colour scheme. FF move away from the traditional dark brown, orange and cream to a trio of black, red and pale green.

Speaking to FranzFerdinand.org earlier this week Alex said, "There's something quite bold about that, as if a title is irrelevant." In this week's NME, he explains further: "They will all be identified by their colour schemes rather than a title. The contrast of colours creates a different mood."

The band are currently deciding on which of the sixteen recorded tracks to commit to the new album, due for release in September. Amongst the shortlist are tracks that regular readers to this site will be aware of: 'I'm Your Villain', 'Well, That Was Easy', 'Walk Away', 'Evil And A Heathen', 'Your Diary', 'You Could Have It So Much Better', 'The Fallen' and 'What You Meant' as well as likely contenders for first single 'Turn It On' and 'Do You Want To? and newly named tracks 'The Outsiders' and 'Eleanor, Put Your Boots Back On'.

Alex concludes, "I'm excited by the new album. It's been exhausting producing it, like the most exhilarating experiences in life can be, but that's great."

I’ve been a supporter of this band, and I really like their first album, but this news both disappoints and bothers me. The whole ‘we will not have a title, we will be bold, everything is irrelevant’ thing I find to be a load of modern art (makes me want to rock out) abstract pretentious philosophical bollocks. I mean, seriously, it’s kind of like, ‘ooh, aren’t we edgy, aren’t we bold, we’re so different and pushing the edges.’ Whatever! Get the fuck over yourselves! What is this, a “concept album”?? And they’ve always been a bit pretentious. In the beginning, they came out and said, "Oh, we're just a pop band, we have no pretensions." But they were pretentious in that way, by asserting that other people were pretentious and that they were better than them because they weren't. And as friends of mine have pointed out, they’re not the first band to do the no title thing, so it’s not as “bold” as he makes it out to be.

I’m not saying that Alex is pretentious. From speaking to him and observing him speaking to others, I can say that I thought he came off as scarily normal and down-to-earth. But this packaging, this concept that the bands is making themselves into is so gimmicky. Let the music speak for itself, why does your album design and title have to make a statement?

And maybe I expected more. They’re so creative that wouldn’t it just seem they would come up with some amazing album title? Sometimes really good album titles are masterpieces in themselves. They can make you laugh (“Hey! Album”), smile (“Feeling Strangely Fine”), or move you (“When Everything Meant Everything”). And don’t we all love the process of opening a new cd and examining the artwork, exploring the secrets hidden in the liner notes and lyrics. I know that the music is what’s important, but the packaging is part of the experience of buying a cd.

Maybe, just maybe, this all wouldn’t bother me so much if I was being blown away by the new material I’ve been hearing. People call the band overrated, and I just don’t care because I like the music. If I liked the music on this album, would I just not care about the packaging? Then again, I’ve been hearing live tracks, and as much as I like them and enjoy seeing them live, I don’t think that their music is at its best live. So I will reserve judgment on the music until the album has come out.

But that doesn’t mean I have to do the same for the lack of title. In laymen’s terms, I think it’s just plain stupid.

All We Need Is Time

2005-06-16T11:31:00.000-04:00

Well, I blew it. I went to see The Futureheads last Monday at Webster Hall, replete with Bob Hardy and Paul Thompson from Franz Ferdinand sitting in the balcony. I even went to the after party and spoke to no one. But I have not had a spare second to write about it. I am a failure as a blogger and I’ve just begun. Alas.

It is not too late to mention that Maxïmo Park on Saturday night kicked ass. Even with the vocals too low. Though we did try to tell them, and he did ask for more, and then wished yours truly a happy birthday from stage. Well, I think I deserved that, pimp daddy that I am. They played their entire album minus one track, plus a b-side. With their special hand motion. And Lukas giving us extra attention, since we were the wildest bunch there. And we weren’t even on his side. They just have so much energy and make their music even more fun that it is to listen to on your own. Although, a funny thing happens when they play “my” song…I just want them to play it at least five more times in a row. Oh well, maybe one day I’ll get a private concert. And make them play the same song ten times. *evil*

Last night saw me gigged out at Webster Hall once more, for Bloc Party, full stop. (It’s the logo. Get it?) They started off with an interesting choice, “So Here We Are”, which is a bit mellow for an opener. “Like Eating Glass” followed, and then they got into the heart of the dancing/jumping/stomping repertoire, with all the requisites such as “Banquet,” “She’s Hearing Voices,” "Positive Tension," “Helicopter,” “Little Thoughts,” and “This Modern Love” (the most upbeat melancholy song ever.) “Tulips” was a treat to hear. The set overall was great, despite the fact that there weren't enough vocals (it’s an epidemic in the New York music scene) and we couldn't understand a word they were saying in between songs (and not because of the accents.) Great encore, including “Price of Gas” and “The Pioneers” (which I love.) And then they came back for a second. They played a new song and then “The Answer.” And even after that, Kele came back on stage and started fooling around on the drums, and Matt came to the front to examine the guitar pedal thingies, and then Russell tottered over and bent down to talk to him. And Kele and Matt stage dived. Kind of surreal. Incidentally, my friend MD is convinced that Russell has let the blochead get overgrown like a weed across his face so that he can look at whoever he wants with no one being the wiser.

I made a personal discovery about Bloc Party, however. They’re never going to be one of those bands that I know all the words to all their songs. There are just some songs I don’t like enough to listen through enough times to learn them. But the songs that I love, I LOVE.

Since J always seems to find out where the after parties are, we decided to check it out. First clue that we weren't at The Futureheads after party anymore - dark, crowded, pretentious bar, with pretentious-type people (i.e. not fans like us *sheepish*), and exorbitantly priced drinks. ($10??!! I'll have one, thanks.) The former had been in a neighborhood bar, kind of intimate, drinks just the usual amount overpriced, and people showed up decently soon after the gig was over.

The one thing about this party that made it > than every other after party ever in the history of man - the djs fucking pwnd - this duo who call themselves Tarts of Pleasure (hehe), comprised of Ultragrrrl and KarenPlusOne. But they played some fucking choooooons, man. “Daft Punk is Playing...,” “Rip It Up,” “Hounds of Love,” “Rebellion (Lies),” “Laid,” “Hard to Explain,” “Hotel Yorba,” “Tendency,” “The Boy Looked at Johnny,” “Time is Running Out.” I must be forgetting a few, but just look at that list! I danced so much and so hard and jumped around so much that I couldn't breathe, I had a pain in my side, and my ankles were killlllling me. But it was so worth it. They were so cute, too, dancing around their booth and throwing their hands in the air and singing along, looking for people who were doing the same. And half the time it was me, from across the room. (I never claimed to not be a dork.) I even went over after they played “Tendency” to tell them that they're awesome. (Because, really, who here even knows “Tendency” anyway?!) I want to go to every party they play from now on. I hope they find out about me and the love I am now bestowing on them. You two are amazing and I worship you.

Why d’you have to kill to feel alive?

2005-06-01T17:13:00.000-04:00

Saw the 22-20s at the Mercury Lounge last night. I decided to go because I had gotten one of their singles, then heard buzz about them around t’net, was enlightened about “Such a Fool,” and then saw they were playing in New York. I got the album (well, a copy of it – sorry), and really liked what I heard. Luckily, since I’d already agreed to go, hahaha.

What's in a name? According to Time Out New York, “The young Brits in 22-20s took their name from Skip James’s ‘.22-20 Blues,’ in which the bluesman sang if ‘she gets unruly and she don’t wanna do/I’ll take my .22-20, I’ll cut her in half in two.” *raises eyebrow*

I was told they’re a great live band, but that’s really an understatement. (Here we also have a demonstration of what a music dork I am.) We got into the Mercury Lounge, but had to wait by the bar area during sound check. Which is not a private thing, mind, only that the door is closed to the stage area. But you can hear everything. And fuck me, it sounded so damn good. I was jumping up and down, catching snippets of my favorites. All giddy and smiling like an idiot. (God, I’m embarrassing.) But a band that can make you rock out to sound check, you know they’re going to be good.

They played 9 songs, and it was too short, despite hearing all my favorites – “Devil in Me, “Such a Fool,” “Shoot Your Gun,” “Baby Brings Bad News.” Their bluesy, jangly rock gets you jumping, headbanging, and dancing just the tiniest bit sultry. And of course the lead singer won me over when he said, “We’re glad to be back in New York. It’s great to be back in civilization.” (Which probably just means they’ve been touring Hicktown, USA, but I’d like to believe it was implying a difference between New York and the UK. Hey, a girl can dream.) I’ve been to a lot of shows, and seen a lot of bands, and sometimes the degree to which you like the band compensates for how good they sound live. Not necessary with the 22-20s. They do it all on their own.

And I am now a proud owner of a “Why don’t you do it for me?” badge, which just tickles me because of what it sounds like if you don’t know the song. *chuckle*

A band that can make me chuckle AND dance sultry? Definitely my kind of band.

Mörë ümläüt mädnëss!!

2005-05-31T12:13:00.000-04:00

Just some documentation of how umlautastic Maxïmo Park really is...

And the "Apply Some Pressure" demo...

Clicky clicky

Chëck ït öüt, yö!

Lukewarmplay

2005-05-29T21:59:00.000-04:00

I am not ashamed to admit that I really like Coldplay. (Ok, maybe I'm just the tiniest bit ashamed to admit it, otherwise I wouldn't have had to make that statement.) If I had to pick a favorite song, I would have to say "Shiver." The guitar riff is just brilliant, and who can't relate when Mr. Martin growls, "And it's you I see, but you don't see me..." Haven't we all lived through that one? It's just such a fucking good song. Runner up would be "Warning Sign," I think. I have a vivid memory of hearing this song driving through the Scottish Highlands on a yellow Haggis tour bus. And tearing up at the "When the truth is I miss you." This song can make me cry any time. But it's so lovely at the same time that it's so melancholy. And it's such a lesson..."A warning sign, you came back to haunt me and I realized, that you were an island and I passed you by, when you were an island to discover..." All the things we've let slip away because we didn't appreciate them or examine them enough, really look at them. "And I'm tired, I should not have let you go..."

And I am really looking forward to the new album. And a friend will be (hopefully!) ordering us tickets on Saturday to witness the spectacle that is Chris Martin and Co. live (though not up close, most likely.) Truth is, though, (that I missed you?) I'm looking forward to the album even more because the songs that I've heard off of it...well, they haven't really won me over. That's not to say that Coldplay won me over immediately, either. It was actually a tough sell. It was right around the time that my friend Natalie was in school in London for a year, and she kept reporting back with these British bands she was in love with - the Doves, Starsailor. And none of them really did anything for me. I had yet to develop my ear for British rock (because it really does sound so different from American rock.) "Yellow" was monotonous, overplayed, and really, nothing altogether great.

It really wasn't until A Rush of Blood to the Head came out that I found the Coldplay love. And I remember hearing "In My Place" and wondering what the big deal was about this band, that it wasn't anything special. But then they played "Clocks" at the end of an episode of Alias, and it was this moment of "HOW FUCKING GOOD?!" And then they played "God Put a Smile Upon Your Face" at the end of a different episode. Well, I went back and did some serious reevaluating. And found that I even liked "In My Place" and "Yellow." A lot.

So I am in the Coldplay zone already. But still not liking the new material so much. I'm not wowed by "Speed of Sound." I think "Fix You" has some beautiful lyrics, but the melody is a bit boring. I like "Talk" the most of these three, but I don't love it. Frankly, I'm concerned. There has been so much talk and hype about this album, about how it couldn't possibly live up to its predecessor, and it's most likely true. But I really want to like it. No, I want to LOVE it. Then again, the songs I love most off of the other albums were not any of the singles (at least not here), and there is the whole rest of the album for me to discover...

I mean, hey, if Colplay is good enough for J.T., it's good enough for me. ;)

Why are you like that? Like what? Like how you are. How am I?

2005-05-25T19:52:00.000-04:00

How am I??

This is only loosely music related, but I was quite disappointed since I was supposed to go see ~~Jordan Catalano's~~ Jared Leto's band, 30 Seconds to Mars, last night. I am not ashamed to admit that the only reason I wanted to go was to gawk at the man that was Jordan Catalano. Despite the fact that he has been trying his best lately to look as ugly as humanly possible (for him, this is not very ugly at all.)

He was THE guy when I was younger. I think there are still grown women walking around carrying a torch for that tv character. I was even going to bring a camera with me. That tells you a thing or two. I had checked the Mercury Lounge website and there weren't tickets on sale, so I thought that it was one of the show up and pay shows. Then my friend told me it was sold out. We both got the same email on Monday, saying a few last minute tickets were available the day of the show. So we didn't go last night. I suppose I should be happy since I really need to be saving money, and really, I was so freaking exhausted last night that I shouldn't have gone anywhere. But still. JORDAN CATALANO!!

If anyone's ever seen them, please tell me the music was so awful that it's good I didn't waste my time or drool.

Big Pimpin’

2005-05-25T16:52:00.000-04:00

For my inaugural entry, it’s only fitting that I pimp the band that I have affectionately been referring to as “my new favorite band.” (There is a difference.) This band is Maxïmo Park, and if you haven’t heard them yet, well, all I can ask is, what are you waiting for? Their first album, “A Certain Trigger” is out in the States on May 31 (or, if you’re like me and a tad impatient, available online as we speak.) The are also currently on tour, so if you can get out and see them, I implore you to. You can check dates here. As for me, I will be seeing them in New York in June, and at Leeds festival in August. And am eagerly awaiting both.

So what’s so great about them, you’re asking? What sets them apart from all the other bands coming out of the UK right now that have all blended together into one Franzblocliberchief? Well, I can’t tell you they’re better than any of the bands mentioned there, or that they’re not completely derivative of somebody (living in America and having had very little exposure to British music for the past 25 years makes one blissfully unaware of current bands’ unoriginality. :D) What I can do is tell you what I like so much about them.

It's the music, man. It's so good. Rollicking fun, danceable as hell. In fact, it had two grown women jumping up and down holding hands while singing along the last time they were in New York. (I won't tell you who - must protect my sources, after all.) I've listened to the album over and over already - and it's rare for me to listen to an album through and not a mix of all the songs I like. And while some of the lyrics are simple, and some downright silly (what if I don't speak French?), there are enough great turns of phrase (is that the correct plural?) to satisfy this self-confessed lyrics whore. I will spare you a rundown of all of them, but I have to at least include a few of my favorites...

You magnify the way I feel about myself
I like to wait to see how things turn out if you apply some pressure
Apply some pressure, you lose some pressure
"Apply Some Pressure"

I sleep with my hands across my chest and I dream of you with someone else
This can't go on so I should just regret it, and even though I led you on, forget it
"Going Missing"

I'm losing more than I'll ever have
I wrote my feelings down in a rush, I didn't even check the spelling
"Postcard of a Painting"

I rewrite my life beneath moonlight
You're always my reminder
"I Want You To Stay"

And if it comes down to me and him, you know I kiss you better
You, are you so scared that you're just gonna let it happen?
"Kiss You Better"

When it's all good, keep things close at hand
"Limassol"

Alright, so maybe I got a bit carried away there... An added bonus is that, unlike so many bands whose accents disappear seamlessly into the words they sing, Paul Smith's Geordie accent displays prominently, and is quite charming. (I dare you to try and sing "I am young" instead of "I am yooong." I double dare you.)

My only complaint (yes, there is one!), and some of you have heard this before, is that some of the songs on the album aren't as good as the demo versions. In particular, "Apply Some Pressure," "Going Missing," and "Limassol." If you can get your hands on these versions, do so. (The ASP demo is available as a b-side on the "Graffiti" single.)

So, in closing, check this band out!! They won’t change the world, but they’ll sure make it a more entertaining place.